"poisoning from his consumption of absinthe. Arnold has suggested the association between bipolar disorder and creativity is a popular one, and may be spurious in Van Gogh's case. Van Gogh is believed to have had borderline personality disorder; he ""displayed symptoms best consistent with a borderline (personality) disorder: impulsivity, variable moods, self-destructive behaviour, fear of abandonment, an unbalanced self-image, authority conflicts and other complicated relationships."" The most thorough argument is made by psychiatrist Erwin van Meekeren in his book ""Starry Starry Night: Life and Psychiatric History of Vincent van Gogh"". Van Meekeren proposes borderline personality disorder as the most likely"
"of the sun. He says it is merely a crescent moon, which, he writes, also had symbolic meaning for Van Gogh, representing ""consolation."" It is in light of such symbolist interpretations of ""The Starry Night"" that art historian Albert Boime presents his study of the painting. As noted above, Boime has proven that the painting depicts not only the topographical elements of Van Gogh's view from his asylum window but also the celestial elements, identifying not only Venus but also the constellation Aries. He suggests that Van Gogh originally intended to paint a gibbous moon but ""reverted to a more"
"into the work. The colors are vivid, consistent with Van Gogh's passion and emotional intensity. Van Gogh Museum's title for this work is ""Emperor Moth."" ""The Starry Night"" depicts the view outside his sanitarium room window at night, although it was painted from memory during the day. Since 1941 it has been in the permanent collection of the Museum of Modern Art in New York City. Reproduced often, the painting is widely hailed as his magnum opus. Van Gogh worked on a group of paintings ""The Wheat Field"" based on the field of wheat enclosed by a wall that he"
"the Mediterranean countries."" Art historian Lauren Soth also finds a symbolist subtext in ""The Starry Night"", saying that the painting is a ""traditional religious subject in disguise"" and a ""sublimated image of [Van Gogh's] deepest religious feelings."" Citing Van Gogh's avowed admiration for the paintings of Eugène Delacroix, and especially the earlier painter's use of Prussian blue and citron yellow in paintings of Christ, Soth theorizes that Van Gogh used these colors to represent Christ in ""The Starry Night"". He criticizes Schapiro's and Loevgren's biblical interpretations, dependent as they are on a reading of the crescent moon as incorporating elements"
"career, including the ""Irises"" from May 1889, now in the J. Paul Getty Museum, and the blue self-portrait from September, 1889, in the Musée d'Orsay. ""The Starry Night"" was painted mid-June by around 18 June, the date he wrote to his brother Theo to say he had a new study of a starry sky. Although ""The Starry Night"" was painted during the day in Van Gogh's ground-floor studio, it would be inaccurate to state that the picture was painted from memory. The view has been identified as the one from his bedroom window, facing east, a view which Van Gogh"
"Starry Night Over the Rhône Starry Night Over the Rhône (September 1888, ) is one of Vincent van Gogh's paintings of Arles at nighttime. It was painted at a spot on the bank of the Rhône that was only a one or two-minute walk from the Yellow House on the Place Lamartine which Van Gogh was renting at the time. The night sky and the effects of light at night provided the subject for some of his more famous paintings, including ""Cafe Terrace at Night"" (painted earlier the same month) and the later canvas from Saint-Rémy, ""The Starry Night"". A"
"drawings of spiral nebulae (as galaxies were then called) as seen and photographed through telescopes. Boime interprets the swirling figure in the central portion of the sky in ""The Starry Night"" to represent either a spiral galaxy or a comet, photographs of which had also been published in popular media. He asserts that the only non-realistic elements of the painting are the village and the swirls in the sky. These swirls represent Van Gogh's understanding of the cosmos as a living, dynamic place. Harvard astronomer Charles A. Whitney conducted his own astronomical study of ""The Starry Night"" contemporaneously with but"
"described objects in his paintings in terms of color. His night paintings, including ""Starry Night Over the Rhône"", emphasize the importance he placed on capturing the sparkling colors of the night sky and of the artificial lighting that was new to the era. Starry Night Over the Rhône Starry Night Over the Rhône (September 1888, ) is one of Vincent van Gogh's paintings of Arles at nighttime. It was painted at a spot on the bank of the Rhône that was only a one or two-minute walk from the Yellow House on the Place Lamartine which Van Gogh was renting"
"paint the stars and I always dream a painting like that with a group of living figures of the pals."" When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening (""Café, le soir""). This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in ""Starry Night Over the Rhône"" (painted the same month), and the better known ""The Starry Night"" a year later. Van Gogh also painted a starlight background in ""Portrait of Eugène Boch"". Van Gogh mentioned the ""Cafe Terrace"" painting in a letter written"
"something artificial — something affected."" When Van Gogh calls ""The Starry Night"" a failure for being an ""abstraction,"" he places the blame on his having painted ""stars that are too big."" While stopping short of calling the painting a hallucinatory vision, Naifeh and Smith discuss ""The Starry Night"" in the context of Van Gogh's mental illness, which they identify as temporal lobe epilepsy, or latent epilepsy. ""Not the kind,"" they write, ""known since antiquity, that caused the limbs to jerk and the body to collapse ('the falling sickness', as it was sometimes called), but a ""mental"" epilepsy—a seizing up of"
"and continued with his preferred method of painting from nature. Like the impressionists he had met in Paris, especially Claude Monet, Van Gogh also favored working in series. He had painted his series of sunflowers in Arles, and he painted the series of cypresses and wheat fields at Saint-Rémy. ""The Starry Night"" belongs to this latter series, as well as to a small series of nocturnes he initiated in Arles. The nocturne series was limited by the difficulties posed by painting such scenes from nature, i.e., at night. The first painting in the series was ""Café Terrace at Night"", painted"
"by the cypress in the centre. The evening star and crescent moon on either side of the tree she describes as adding ""cosmic perspective to the earthly scene"" and suggesting a ""sentient universe filled with love"". Road with Cypress and Star Road with Cypress and Star (), also known as Country Road in Provence by Night, is an 1890 oil-on-canvas painting by Dutch post-Impressionist painter Vincent van Gogh. It is the last painting he made in Saint-Rémy-de-Provence, France. The painting is part of the large van Gogh collection of the Kröller-Müller Museum, located in the Hoge Veluwe National Park at"
"Road with Cypress and Star Road with Cypress and Star (), also known as Country Road in Provence by Night, is an 1890 oil-on-canvas painting by Dutch post-Impressionist painter Vincent van Gogh. It is the last painting he made in Saint-Rémy-de-Provence, France. The painting is part of the large van Gogh collection of the Kröller-Müller Museum, located in the Hoge Veluwe National Park at Otterlo in the Netherlands. ""Road with Cypress and Star"" was painted in May 1890. In an earlier letter to his brother Theo, van Gogh wrote that cypresses were ""always occupying [his] thoughts"" and that he found"
"an image of a mother and child in the clouds in ""Landscape with Olive Trees"", painted at the same time and often regarded as a pendant to ""The Starry Night"".) Art historian Sven Loevgren expands on Schapiro's approach, again calling ""The Starry Night"" a ""visionary painting"" which ""was conceived in a state of great agitation."" He writes of the ""hallucinatory character of the painting and its violently expressive form,"" although he takes pains to note that the painting was not executed during one of Van Gogh's incapacitating breakdowns. Loevgren compares Van Gogh's ""religiously inclined longing for the beyond"" to the"
"with death in European culture, though the question of whether Van Gogh intended for them to have such a symbolic meaning in ""The Starry Night"" is the subject of an open debate. In an April 1888, letter to Bernard, Van Gogh referred to ""funereal cypresses,"" though this is possibly similar to saying ""stately oaks"" or ""weeping willows."" One week after painting ""The Starry Night"", he wrote to his brother Theo, ""The cypresses are always occupying my thoughts. I should like to make something of them like the canvases of the sunflowers, because it astonishes me that they have not yet"
"at the Kröller-Müller Museum in Otterlo, Netherlands. After finishing ""Café Terrace at Night"", Van Gogh wrote a letter to his sister expressing his enthusiasm: He continues, in this same letter, This excerpt forms the basis of the Van Gogh Museum's curators' opinion that the painting is a depiction """"of drinkers in the harsh, bright lights of their illuminated facades"""" from Maupassant's novel ""Bel Ami"", however, they also note that Maupassant makes no mention of a 'starry sky.' In 1981, Bogomila Welsh-Ovcharov argued that since it ""displays not only a night scene but also a funnel-like perspective and dominant blue-yellow tonality"""
"of van Gogh's work of ""effets de soir"". The exhibit included such iconic paintings as ""The Potato Eaters"", ""The Sower (Van Gogh)"", ""Starry Night Over the Rhone""""The Starry Night"", and ""The Night Cafe"". All of the following are by Vincent van Gogh, unless otherwise noted: Effets de soir Effets de soir (also called effets desoir or effets de soir et de matin) are the effects of light caused by the sunset, twilight, or darkness of the early evening or matins. They appear frequently in works by such painters as Vincent van Gogh, Bernard Fries, Armand Guillaumin, and Camille Corot. Literally,"
"his major tasks. From the 1950s, Hulsker contributed to Van Gogh research, concentrating on the dating of Van Gogh's correspondence. In 1973, Hulsker's most important study was published, ""Van Gogh door Van Gogh"", which has not been translated from the Dutch. He is the author of an acknowledged ""catalogue raisonné"" of Van Gogh's work, published in 1978, revised in 1989 and again in 1996. His catalogue numbers are preceded by a 'JH': thus JH1731 refers to the 1889 oil painting ""The Starry Night"" (previously catalogued by Jacob Baart de la Faille as F612). In the 1980s, Hulsker left the Netherlands"
"the artist's estate. Since 1962, it has been in the possession of the Vincent van Gogh Foundation, established by Vincent Willem van Gogh, the artist's nephew, and on permanent loan to the Van Gogh Museum, Amsterdam. The Yellow House itself no longer exists. It was severely damaged in bombing-raids during the Second World War, and later demolished. The place without the house looks almost the same. A placard on the scene commemorates its former existence. The Yellow House The Yellow House (), alternatively named The Street (), is an 1888 oil painting by the 19th-century Dutch Post-Impressionist painter Vincent van"
"and the earth."" (Some commentators see one tree, others see two or more.) Loevgren reminds the reader that ""the cypress is the tree of death in the Mediterranean countries."" Art historian Ronald Pickvance says that with ""its arbitrary collage of separate motifs,"" ""The Starry Night"" ""is overtly stamped as an 'abstraction'."" Pickvance claims that cypress trees were not visible facing east from Van Gogh's room, and he includes them with the village and the swirls in the sky as products of Van Gogh's imagination. Boime asserts that the cypresses ""were"" visible in the east, as does Jirat-Wasiutyński. Van Gogh biographers"
"in Arles in early September 1888, followed by ""Starry Night Over the Rhone"" later that same month. Van Gogh's written statements concerning these paintings provide further insight into his intentions for painting night studies in general and ""The Starry Night"" in particular. Soon after his arrival in Arles in February 1888, Van Gogh wrote to Theo, ""I . . . need a starry night with cypresses or—perhaps above a field of ripe wheat; there are some really beautiful nights here."" That same week, he wrote to Bernard, ""A starry sky is something I should like to try to do, just"
"The Big Easel, Emerald, Central Queensland The Big Easel installation art piece, created by Canadian artist, Cameron Cross, is located in the town of Emerald in Central Queensland, Australia. Erected in 1999, and unveiled in October of the same year, the installation artwork depicts Dutch artist, Vincent van Gogh’s (1853-1890), famous ""Sunflowers"" (1889) still life painting, which is currently part of the Van Gogh Museum’s collection in Amsterdam. The monumental reproduction of van Gogh’s painting is located on the corner of Dundas Street and the Capricorn Highway, situated in the centre of Emerald’s Discovery Park. Weighing approximately 17,000 kilograms, Cross’"
"The Yellow House The Yellow House (), alternatively named The Street (), is an 1888 oil painting by the 19th-century Dutch Post-Impressionist painter Vincent van Gogh. The house was the right wing of 2 Place Lamartine Arles, France, where, on May 1, 1888, Van Gogh rented four rooms. He occupied two large ones on the ground floor to serve as an atelier (workshop) and kitchen, and on the first floor, two smaller ones facing Place Lamartine. The window on the first floor near the corner with both shutters open is that of Van Gogh's guest room, where Paul Gauguin lived"
"purchased by the dozen (hoping to start a commune of twelve ""artist-apostles"" at his Yellow House); culminating with his composition of twelve diners drenched in a yellow halo surrounding a Rembrandtesque server framed by a crucifix at the vanishing point of the picture; it's concluded his original starry night is a Symbolist's ""Last Supper"". Although van Gogh never explicitly mentioned his intent in any existing letter, he did write his brother Theo two weeks later, ""That doesn't stop me having a terrible need for - dare I say the word - for religion. So I go outside at night to"
"with hills and mountains visible behind, and white clouds swirling in an azure sky above. The first version (F717) was painted in late June or early July 1889, during a period of frantic painting and shortly after Van Gogh completed ""The Starry Night"", at a time when he was fascinated by the cypress. It is likely to have been painted ""en plein air"", near the subject, when Van Gogh was able to leave the precincts of the asylum. Van Gogh regarded this work as one of his best summer paintings. In a letter to his brother, Theo, written on 2"
"Indeed, van Gogh's use of color became so dramatic that he was sometimes called an Expressionist. But it was southern France that provided an opportunity for him to express his ""surging emotions."" Enlightened by the effects of its sun-drenched countryside, van Gogh reported that above all, his work ""promises color"". This is where he began development of his masterpieces. Van Gogh captured the colors and moods of the trees which varied dramatically by daylight and season. He began to use the color blue to represent the divine. In both ""The Starry Night"" and his olive tree paintings, van Gogh used"
"of 1888: ""When Gauguin was in Arles, I once or twice allowed myself to be led astray into abstraction, as you know. . . . But that was delusion, dear friend, and one soon comes up against a brick wall. . . . And yet, once again I allowed myself to be led astray into reaching for stars that are too big—another failure—and I have had my fill of that."" Van Gogh here is referring to the expressionistic swirls which dominate the upper center portion of ""The Starry Night"". Theo referred to these pictorial elements in a letter to Vincent"
"and the rule of Napoleon Bonaparte. The four-volume, 3,000-page series, published over a two-decade period by the University of Chicago Press, includes ""Art in an Age of Revolution, 1750–1800"" (1987); ""Art in an Age of Bonapartism, 1800–1815"" (1990); ""Art in an Age of Counterrevolution, 1815–1848"" (2004); and ""Art in an Age of Civil Struggle, 1848–1871"" (2007). In an analysis of Vincent van Gogh's ""The Starry Night"", Boime convinced art historians that the images in the painting's night sky were not a fanciful artwork, but are the result of Van Gogh's observations of the sky from the window of the asylum"
"to Eugène Boch on October 2, 1888, writing he had painted ""a view of the café on place du Forum, where we used to go, ""painted at night"""" (emphasis van Gogh's). The painting and the café were both featured in the 1956 film ""Lust for Life"" starring Kirk Douglas and later in ""Vincent and the Doctor"" (2010), the tenth episode in the fifth series of British science fiction television series ""Doctor Who"", and in the fully painted film ""Loving Vincent"" (2017). ""This is a night painting without black, with nothing but beautiful blue and violet and green and in this"
"""Cypresses still preoccupy me, I should like to do something with them like my canvases of sunflowers""; he went on to say, ""They are beautiful in line and proportion like an Egyptian obelisk."" In mid-1889, and at his sister Wil's request, Van Gogh painted several smaller versions of ""Wheat Field with Cypresses"". The works are characterised by swirls and densely painted impasto, and include ""The Starry Night"", in which cypresses dominate the foreground. In addition to this, other notable works on cypresses include ""Cypresses"" (1889), ""Cypresses with Two Figures"" (1889–90), and ""Road with Cypress and Star"" (1890). During the last"
"paints. Of ""Olive Trees in a Mountainous Landscape"" in the collection of the Museum of Modern Art (MoMA), Vincent wrote his brother Theo: ""I did a landscape with olive trees and also a new study of a starry sky,"" calling this painting the daylight complement to the nocturnal, ""The Starry Night"". His intention was to go beyond ""the photographic and silly perfection of some painters"" to an intensity born of color and linear rhythms. Within the painting, twisted green olive trees stand before the foothills of the Alps and underneath the sky with an ""ectoplasmic"" cloud. Later, when the pictures"
"he spent in Provence. (It was the mistral which triggered his first breakdown after entering the asylum, in July 1889, less than a month after painting ""The Starry Night"".) Boime theorizes that the lighter shades of blue just above the horizon show the first light of morning. The village has been variously identified as either a recollection of Van Gogh's Dutch homeland, or based on a sketch he made of the town of Saint-Rémy. In either case, it is an imaginary component of the picture, not visible from the window of the asylum bedroom. Cypress trees have long been associated"
"Irises (painting) Irises is one of several paintings of irises by the Dutch artist Vincent van Gogh, and one of a series of paintings he made at the Saint Paul-de-Mausole asylum in Saint-Rémy-de-Provence, France, in the last year before his death in 1890. Van Gogh started painting ""Irises"" within a week of entering the asylum, in May 1889, working from nature in the hospital garden. There is a lack of the high tension which is seen in his later works. He called painting ""the lightning conductor for my illness"" because he felt that he could keep himself from going insane"